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METAPHYSICAL MASTERPIECES STUDY DAYS Friday, April 26 & Saturday, April 27, 2019

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METAPHYSICAL MASTERPIECES STUDY DAYS Friday, April 26 & Saturday, April 27, 2019 METAPHYSICAL MASTERPIECES STUDY DAYS Friday, April 26 & Saturday, April 27, 2019 CIMA – Center for Italian Modern Art 421 Broome Street, 4th floor, NYC Renato Barilli • Erica Bernardi • Filippo Bosco • Caterina Caputo • Carlotta Castellani • Damian Dombrowski • Mia Fuller • Emanuele Greco • Irena Kossowska • Nicol Mocchi • Simona Storchi • Maria Elena Versari wifi network: Amplifi • password: Paolini1940 Friday, April 26 10 am – 10.30am Metaphysical Masterpieces exhibition viewing and registration Welcome by Emma Lewis, Executive Director of CIMA 10.30am – 1pm From Collecting to Exhibiting Metaphysical Paintings (Chair: Carlotta Castellani) Followed by Q&A Emanuele Greco (University of Florence, Italy) The origins of an ambiguity: considerations on the exhibition strategies of metaphysical painting in the exhibits of the group “Valori Plastici”, 1921-1922 The magazine Valori Plastici, published in Rome between 1918 and 1922 under the direction of Mario Broglio, had a decisive role in the European artistic context after WWI. It presented the works of an innovative group of Italian artists including Giorgio de Chirico, Carlo Carrà, Giorgio Morandi, Alberto Savinio, Arturo Martini and Edita Broglio, who worked to rediscover the roots of their own artistic languages in the Italian Medieval and Renaissance traditions. The magazine was a remarkable medium for the international spread of metaphysical painting, that took place when the artists more connected to this style outdistanced themselves from it in favor of a more naturalistic pictorial language. In fact, Valori Plastici presented metaphysical painting both as an innovative language of the avant-garde and as well as a language that followed the Italian artistic tradition. The proposal highlights this ambiguous interpretation of metaphysical painting given by Valori Plastici. Analyzing the exhibition activity of Valori Plastici, with an emphasis on the 1921 tour in Germany, and the participation at the Fiorentina Primaverile in Florence in 1922, it will show how Broglio intended to present metaphysical painting during the exhibits of Valori Plastici, and how it was a strategic move to describe the language of metaphysics to the public in different ways. Emanuele Greco, who received a PhD in Art History at the University of Florence (Italy), specializes in Italian art and critics of the 20th Century. His PhD thesis looked at the reconstruction of the cultural context that surrounded the Fiorentina Primaverile, an important exhibition of Italian contemporary art that took place in Florence in 1922 with a significant focus on the participation of the group “Valori Plastici.” He also studied the exhibition of African sculptures at the Venice Biennale in 1922, as well as artists like Giorgio de Chirico, Edita Broglio, Alberto Viani, Francesco Somaini. Moreover, he researched Italian art critics such as Roberto Salvini, Carlo Ludovico Ragghianti and Giorgio Castelfranco, ultimately curating the re-publishing of Castelfranco's book La pittura moderna (1934). Several of his articles have appeared in magazines like “Annali di Critica d'Arte,” “L'Uomo Nero,” “StudiOnLine” and “Artista.” Caterina Caputo (CIMA fellow) Building an Identity for Italian Contemporary Art during the Fascist Ventennio: the case of Rino Valdameri’s Collection Rino Valdameri was born in Crema in 1889. After graduating in law at the University of Genoa he became a lawyer and moved to Milan where he worked and lived during the 1920s and 1930s. In 1922, he entered the National Fascist Party, and he remained politically involved with Fascism until its fall in 1943. Valdameri was involved in the cultural environment of Milan and, from 1936 to 1940, he directed the Reale Academia of Brera and was a member of the Poldi- Pezzoli Foundation. In this paper, I will reconstruct the history of his large collection of contemporary Italian art and the collecting taste of Valdameri who, in just two decades, assembled more than 450 artworks. Among Valdameri’s favorite artists there were Giorgio Morandi, Giorgio de Chirico, and Carlo Carrà, whom he considered to be at the forefront of international modern art. Valdameri collected with a specific purpose since he aimed to contribute to shape an Italian contemporary art as well as create a national, and international, art market for it. Caterina Caputo received her PhD (Doctor Europaeus) from the University of Florence, Pisa, and Siena. Her work addresses topics at the crossway of collecting, art market, cultural dissemination, and transnational exchanges related to Surrealism, Avant-gardes, and Modernity. She worked as a tutor at the University of Florence, where she also took part in academic research groups. Caterina has been awarded the University of Florence financial grant for publishing her book Collezionismo e mercato. La London Gallery e la diffusione dell’arte surrealista, 1938-1950 (Firenze: Pontecorboli, 2018). She has presented papers in several international conferences in Europe and the U.S., and published articles on Surrealism, Giorgio de Chirico, and collecting in academic journals, including "Ricerche di storia dell'arte, "Archivio dell'arte metafisica: Studi OnLine," and “Passages” of the German Center of Art History of Paris; she is contributing to the "Art Market Dictionary" (Berlin: De Gruyter, 2020). In 2017 and 2018 she participated in the École de printemps (the International Consortium on Art History) and to the Centre Pompidou Summer School. Recently, Caterina has been awarded the Leon Levy postdoctoral fellowship at the Center for the History of Collecting at the Frick Collection, where she studied Gordon Onslow Ford’s Surrealist Collection (forthcoming publication). Nicol Mocchi (Soprintendenza, Milan) Metaphysical Art in James Thrall Soby’s travel notebooks My paper will focus on the travel notebooks of the American critic and art collector James Thrall Soby, head of the Department of Painting and Sculpture at the Museum of Modern Art in New York, written in the spring of 1948 during his trip to Italy accompanied by the director of the museum collections Alfred H. Barr, Jr. The purpose of this trip was to select Italian contemporary artworks from public and private galleries, as well as the main Italian art collectors (Frua De Angeli, Boschi, Jucker, Jesi, Rollino, Castelfranco, and Feroldi), which would be featured at the first major North-American exhibition, after the fall of fascism, entitled Twentieth-century Italian Art in 1949. The analytical study of these notebooks, enriched by a series of interesting sketches, will especially focus on the choices made and opinions expressed by Soby on the art of some of the major Italian artists variously related to the so-called “Metaphysical School,” including Giorgio de Chirico, Carlo Carrà, Giorgio Morandi, besides those of Alberto Savinio and Mario Sironi. This paper will examine the role of Italian art collecting in spreading twentieth-century Italian art, especially Metaphysical Art, and how it was perceived in the United States after World War II. Nicol Mocchi is an Italian art historian specializing in nineteenth- and twentieth-century art. She deals specifically with the connections and exchanges between different visual cultures. Since 2010, she has been collaborating with the Archivio dell’Arte Metafisica and with Milan’s Superintendence for Archeology, Fine Arts and Landscape. In 2016, she was a postdoctoral fellow at the Center for Italian Modern Art, where she researched the reception, visual success and critical fortune of Giorgio Morandi’s work in the United States, leading up to the 1950s. She has recently published a book entitled The Culture of the de Chirico Brothers at the Dawn of Metaphysical Art (Milan: Scalpendi editore, 2017). Erica Bernardi (CIMA fellow) “Intellectual lucubrations:” Lamberto Vitali, Giorgio Morandi and Metaphysical art Why didn’t Lamberto Vitali praise the artistic products of Morandi’s metaphysical phase as he did for works completed at other moments of the artist’s career? In Vitali’s writings on Morandi – in, for example, the different editions of his catalogue raisonné – the art historian doesn’t explicitly declare a preference. However, there is an evident a change in the way he discusses the works of the artist’s metaphysical years (1918–1919). For instance, when he writes about the artist’s landscapes painted in the following years, between 1921 and 1925, he claims that they have a “tender sweetness in the representation, very far from the intellectual lucubrations of the Metaphysical Still Life." This apparently banal and marginal question allows us, on the contrary, to consider Vitali’s reading of Morandi’s œuvre with a far broader perspective for which it becomes pivotal to take into consideration the collecting taste of the time. Through this reading of Vitali’s texts and of Morandi’s images, as well as an analysis of the contemporary market tendencies, it becomes possible to define the cultural reasons underlying Vitali’s taste. Erica Bernardi received her Ph.D. from the University Ca’ Foscari in Venice. Her research focuses on Franco Russoli, the art historian, museologist, and director of the Pinacoteca di Brera in Milan; most recently she published the book Senza utopia non si fa la realtà. Scritti sul museo 1952-1977, based on her PhD dissertation. She is currently the curator of the Franco Russoli archive and collection, and collaborates with the Brera on historical research projects. She is also coordinating a work team regarding contemporary
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